Analyze the fugue in as much detail as possible. Know where each little bit of material in the counterpoint, during subject or sequence, comes from. If it's a bit of a motif, you'll want to treat it accordingly. Look for BACH signatures. They usually mark some sort of profound harmonic shift, not because Bach was conceited, but because the tones themselves force such a shift. I would suggest analyzing it yourself because if you read someone else's analysis, you won't appreciate it as much as if you had found everything yourself. But of course check out an online analysis when you are done - all of the WTC analyses are available online, somewhere.

Try playing through it, only playing subject material. Mark it on the score that you practice with. Practice slow, and don't go faster if you can't maintain clarity of your voices and their interactions with each other.

My teacher has told me numerous times that Julliard students are told to solfeg one voice while playing the others...it sounds like a nightmare, but once you got it, you're golden...
I've never done it, but I've seen it done and it's crazzzzzy
Rich

_________________"The Mind of a composer is that of a tortured soul of Hades---they have no peace, they are never at rest. They search for harmony in a world full of chaos"

My teacher has told me numerous times that Julliard students are told to solfeg one voice while playing the others...it sounds like a nightmare, but once you got it, you're golden...I've never done it, but I've seen it done and it's crazzzzzyRich

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